Ross strips down, shares raw story on broadway – a mental health moment
Tracee Ellis Ross is bringing more than just glamour to Broadway; she’s offering a brutally honest exploration of grief, depression, and the persistent search for meaning, all while captivating audiences in Every Brilliant Thing.
A one-woman show of vulnerability and connection
The actress, producer, and entrepreneur debuted her solo performance this July, kicking things off with a strikingly intimate act – shedding her clothes onstage in a bra and underwear. This vulnerability, mirrored throughout the play, stems from Duncan Macmillan and Jonny Donahoe’s 40-page monologue about a Narrator’s journey through loss and the creation of a ‘millionth’ entry in a list started as a child after their mother’s suicide attempt. It’s a deeply personal chronicle, tracing the Narrator’s experiences from ice cream fights to college, first love, and ongoing struggles with mental health.
Ross, who is making her Broadway debut, isn’t simply reciting lines; she’s embodying the character’s raw emotions, a powerful testament to her acting abilities. “My sisters were tortured growing up, because I was constantly playing Mrs. Hannigan and singing Annie all over the house,” she recalls, hinting at a childhood steeped in performance and, perhaps, a sensitivity to the complexities of human emotion. She describes the experience as “flying with my feet on the ground,” a fitting metaphor for the show’s grounded, emotionally resonant core.
A global impact, rooted in universal themes
Every Brilliant Thing began its journey at Ludlow and Edinburgh Fringe Festivals before landing an off-Broadway run at the Barrow Street Theatre in 2014. Since then, it’s been translated into 66 languages and staged in 63 countries, a remarkable testament to the play’s ability to transcend cultural boundaries. Ross credits this reach to its exploration of universally relatable themes: “Although it is not my story at all, it still feels like every feeling inside it is mine,” she explains. “Even if the world weren’t the way it was, it is a human thing to experience that kind of hurt inside, whether there’s a reason or not.”
Adding another layer of resonance, the production actively engages the audience, inviting attendees to step into the roles of family members and teachers – a deliberate choice reflecting the current mental health crisis in the United States and aimed at fostering a sense of collective celebration of life. “My job is really to be a conductor of sorts, and to fill the space with wonder and connection—really to set the tone that we are all there to flourish,” Ross states, emphasizing the show's role as a catalyst for connection. “There’s no doing it wrong, and there’s no mistakes.”
The play’s impact extends beyond the stage, prompting crucial conversations about mental health, particularly within Black communities. Studies reveal disparities in treatment access for Black adults and higher rates of suicide attempts among Black adolescent girls. “Mental health for Black women—and Black people—in America is something that needs attention and care and love,” Ross asserts. “I think this is a wonderful vehicle for those kinds of conversations.” She describes being “staggered” by the play’s revelations about the “Werther effect” and the contagious nature of suicidal thoughts – insights she now carries with profound weight.
A moment of shared vulnerability
Ross concludes, “It’s why I love being an actor, both from the perspective of sharing the human experience, and also because I get to connect with other people. So this show, I feel, is tailor-made.” This debut isn’t just a theatrical milestone; it’s a testament to Ross’s commitment to using her platform to spark meaningful dialogue and, ultimately, remind us of the brilliance that exists even in the darkest of times.